Finding the Light in their Eyes

Sir Ken Robinson's TED Talk, in the previous post, reminded me of Sonia Nieto's introduction from her book "The light in their eyes: Creating multicultural learning communities."

She says:

In thinking about why learning needs to be more centrally connected with multicultural education, an image came to me: the light in students' eyes when they become excited about learning. There is nothing quite as dazzling as this sight. Once we have seen the look of discovery and learning in students' eyes, we can no longer maintain that some young people--because of their social class, race, ethnicity, gender, native language, or other difference--are simply unmotivated, ignorant, or undeserving. The light in their eyes is eloquent testimony to their capacity and hence their right to learn.

When we subject many populations of "at risk" students to skill and drill curricula, test prep, low-level thinking skills, and scripted curricula, we don't have a chance to see this light in students' eyes. We take this away from the very beginning. We fail them from the start. I have felt like I have to sneak in the activities that give students a chance to love learning. A creative curriculum often must be enacted behind the closed classroom door. It's assumed that it's not what struggling or "at-risk" students need.

I agree with SpEdChange's post about the current Obama reforms and Race to the Top:

The winners of the "innovation" grant program: Teach for America - which provides untrained teachers for America's most vulnerable minority students while pumping up the resumes of rich kids; KIPP Schools - today's recreation of the US "Indian School" program for the "retraining" of minority children; and Success for All - a scripted reading program devoted to teaching reading as a skill, not a life function; all have a few things in common, from campaign contributions to rich folks behind them, but especially, that they are all emblematic of the Obama Administration's belief "that African-American and Latino kids are ineducable."

If Obama thought differently he would not be pouring education funds into reductionist programs that no middle class or wealthy parent would accept for their child. If Obama thought differently he would be pouring funding into...dreaming about how to give all of our kids all that they need.

His request?

All of our children, even if they are poor, are black, are latino, are "disabled," even if they have "disinterested" or incompetent parents, deserve our very best. So please, let's stop "racing" - and let's stop dividing - and let's start creating opportunity.

College does NOT begin in Kindergarten

Thank you Ken Robinson.

He also says, "a three year old is not half a six-year-old. "Do we want our education system to be "fast food" or "customized dining?"

I came across this talk late. It's from May, but definitely worth watching if you haven't yet seen it.



He closes with this poem by William Butler Yeats:

Had I the heavens' embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half-light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.

p-l-a-y

Great, great, great Susan Engel & NY Times.

So important to recognize that what we teach and the way we teach is not aligned to what we know about child development.

Our current educational approach — and the testing that is driving it — is completely at odds with what scientists understand about how children develop during the elementary school years and has led to a curriculum that is strangling children and teachers alike.

In order to design a curriculum that teaches what truly matters, educators should remember a basic precept of modern developmental science: developmental precursors don’t always resemble the skill to which they are leading. For example, saying the alphabet does not particularly help children learn to read. But having extended and complex conversations during toddlerhood does. Simply put, what children need to do in elementary school is not to cram for high school or college, but to develop ways of thinking and behaving that will lead to valuable knowledge and skills later on.

So what should children be able to do by age 12, or the time they leave elementary school? They should be able to read a chapter book, write a story and a compelling essay; know how to add, subtract, divide and multiply numbers; detect patterns in complex phenomena; use evidence to support an opinion; be part of a group of people who are not their family; and engage in an exchange of ideas in conversation. If all elementary school students mastered these abilities, they would be prepared to learn almost anything in high school and college.

Farewell, Pina Bausch

The beautiful choreographer of tanztheater, Pina Bausch passed away today at 68.

Pushing the boundaries between theater and dance, she has said she was "not interested in how people move, but in what moves them."

School for Designing a Society & Patch Adams

I'm currently researching Paulo Freire's concept of radical love in relation to teaching the arts, specifically in relation to facilitating applied theatre. Patch Adams, doctor, health care activist and clown, conducts a workshop called "What is your love strategy?"

His organization also pairs with The School for Designing a Society. Every school (for little kids and big kids) should have something like this. Amazing--I want to go!

The School for Designing a Society, established in 1991, is a project of teachers, performers, artists, and activists. It is an ongoing experiment in making temporary living environments where the question "What would I consider a desirable society?" is given serious playful thought, and taken as an input to creative projects.

Why a desirable society?

We want to address people: our neighbors and our distant neighbors who, living in the current social system, find that this system maintains itself at the expense of its members so that misery, poverty, hopelessness, violence, and human degradation are daily occurrences. Our social system tells us that human beings are the problem, and that it, the current system, is the solution. We have taken long looks at this system, and we do not want it. As any social system is humanly created, not natural, and is maintained daily by human action, we wish to create new social systems, and to change our daily patterns of action.

Why design?

Criticisms of the problems of the present society are often met with justifications. Once these justifications fail, many a conversation of hopeful intention is stopped with the (final) statement: "The present organization of society is the best we have", or the question: "Do you have a better idea?"

This is a moment of possibility and not one to be left speechless. Indeed, many a time, the respondent finds herself sputtering, filled with a spirit of rebellion which unfortunately gets watered down to the mere language of complaint.

Having had the time and opportunity to create--in conjunction with others of diverse experiences--detailed maps, dreams, plans, scripts, scores, videos, and blueprints of her desirable society, we imagine the situation could go differently.

Imagine an atmosphere of audacity: She's asked the question: "Do you have a better idea?" Everyone taking a coffeebreak looks at her or their shoes. She looks the interlocutor in the eye and reaches into her purse? knapsack? briefcase? kitchen drawer? for a booklet of proposals, slaps it on the table scattering cigarette butts, and answers: "Here, read this--this will give you an idea of what I want."

Play!

A new study from the Alliance for Childhood: Crisis in Kindergarten: Why Children Need to Play in School.

New research shows that many kindergartens spend 2 to 3 hours per day instructing and testing children in literacy and math—with only 30 minutes per day or less for play. In some kindergartens there is no playtime at all. The same didactic, test-driven approach is entering preschools. But these methods, which are not well grounded in research, are not yielding long-term gains. Meanwhile, behavioral problems and preschool expulsion, especially for boys, are soaring.

View the 8-page summary.

It's a great resource for drama educators!

Other books on play that I recommend:

• Free Play: Improvisation in Life and Art by Stephen Nachmanovitch
• Deep Play by Diane Ackerman
• Dorothy Heathcote: Drama as a Learning Medium by Betty Jane Wagner

Dancing Democracy

Why should our children bend the knee in that fastidious and servile dance, the Minuet, or twirl in the mazes of the false sentimentality of the Waltz? Rather let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance the language of our Pioneers, the Fortitude of our heroes, the Justice, Kindness, Purity of our statesmen, and all the inspired love and tenderness of our Mothers. When the American children dance in this way, it will make of them beautiful beings, worthy of the name of the Greatest Democracy.

That will be America Dancing.

-Isadora Duncan, American dancer & choreographer

Creativity, Imagination, & Schools

"All children are artists. The problem is how to remain an artist once he grows up." --Picasso

I recently came back to Sir Ken Robinson's 2006 TED talk, Do schools kill creativity? 

It's really a beautiful and challenging piece. Robinson speaks about the future of education and education's purpose to take us into a future that is unknown. He criticizes public education for squandering kids' tremendous talents and poses that creativity is as important in education as literacy is. Creativity should be treated with the same emphasis.

He also touches on the importance of making and learning from mistakes. Those who are afraid to be wrong don't try new things. Currently, we teach our kids to fear mistakes. We search for the "right" and "best" answers in the classroom and stifle discussion where there are no clear cut answers. One strategy that I think works as an excellent tool for discussion is the use of Visual Thinking Strategies.

Visual Thinking Strategies are typically used within the visual arts to facilitate the discussion of a piece of art. Here's a summary of the technique from the VTS website:

Teachers are asked to use three open-ended questions:

• What’s going on in this picture?
  
• What do you see that makes you say that?
  
• What more can we find?

3 Facilitation Techniques:

• Paraphrase comments neutrally.
  
• Point at the area being discussed.
  
• Link contrasting and complementary comments.

Students are asked to:

• Look carefully at works of art.
  
• Talk about what they observe.
  
• Back up their ideas with evidence.
  
• Listen to and consider the views of others.
  
• Discuss many possible interpretations.

This technique is useful for a range of discussions--from visual art, to language arts, theatre, music, and dance. 

Still, the arts are at the bottom of the totem pole in schools, with theatre and dance holding a lower status than music and visual art. Why is this? Are we afraid of the use of the body? Robinson comments that public education is concerned with the waist up (Or even the neck up.) Why shouldn't children use their bodies to dance or express themselves through drama? There are people who must move to think--people who think through movement and expression. 

Public education meets the needs of industrialism. The most useful subjects for school are the ones that are most useful for work. What if you are good at the things at school that are not valued? 

We often say lets use hip hop to teach literacy and math, but why not use math and literacy to teach hip hop?

Mime Spoken Here: Awesome book on Mime (yes mime!), Aritstry, and Drama Education

While I'm in the academic mode, a few more thoughts on another book I recently read:Mime Spoken Here : The Performer's Portable Workshop.Read more about acclaimed mime and author, Tony Montanaro.

As a teaching artist (with little mime training) who is looking to transition to a full-time teacher who incorporates and utilizes drama as a way of learning in the elementary classroom, I came across several unexpected connections in Montanaro’s Mime Spoken Here. To me, the book not only encouraged an understanding and appreciation of mime work on an introductory level, but also inspired an understanding of Montanaro’s goals and work as an educator—knowledge that translates directly to those practicing drama in education.

Montanaro’s insights into premise, character, and improvisation can be applied throughout the acting world, and also further into understanding oneself and one’s work (in whatever field). Montanaro’s exercises in premise stress that the premise or motive will change how one does something. He notes that the ability of the actor to believe in the motivation will enhance and create credibility, even in the simplest of exercises. Montanaro points out that mime, at its foundation, is about understanding life and its physical forces--a beautiful idea. Montanaro notes, “It is important to remember that mime is a reflection of life, and that life is much more than the outward appearance of a living thing.” 

Connections: Montanaro and Dorothy Heathcote

Montanaro’s work led me to make connections between his insights and drama in the classroom—particularly, process drama work. His chapter on improvisation offers several connections to process drama. The dictionary definition of improvise includes the phrase “without preparation,” but Montanaro argues, “whether you can predict the future or not, you’re always prepared for it. Each moment is informed by the moment that precedes it. Everything that happens has been set up; it is prepared to happen." 

This thinking mirrors the approach that Dorothy Heathcote takes with a new class with whom she is working on a process drama. She often walks into a classroom and says, “What would you like to do a play about today?” While this question seems to require no preparation or prediction of the future, Heathcote prepares both beforehand and during by using her previous experiences and the connections that she can make between themes, history, and experience, what Betty Jane Wagner names “the brotherhood” (making connections to all of those who have been in similar situation) and “segmenting” strategies in her book, Dorothy Heathcote: Drama as a Learning Medium.

Montanaro’s “Rules for Improvisation” are applicable for all teachers and specifically, teachers engaging in process drama in the classroom:

1. Read what is coming at you from all directions.
   
2. Listen to what the present moment is “suggesting” to you.
   
3. Follow your impulses dispassionately and faithfully.

Sadly, much of the curriculum mandates in our current educational system leave little room for improvisation. But “good” teachers look for student reactions and understanding in order to work in the moment; they follow impulses by recognizing teachable moments. Facilitators of process drama would find these rules to be applicable and similar to those encouraged by Heathcote.

Another of Montanaro’s statements that applies to the realm of drama in education is: “Some people believe that improvisations are field days for the uninhibited.” As Montanaro suggests, this can repel “the more serene and complacent types.” It is important that teachers and students alike interested in drama in education understand that they need not be haphazard, wild, or outspoken. He notes, “Improvisation, approached correctly, teaches acuity, perceptiveness, and presence-of-mind.”

In continuing to learn about the area of process drama and its use in the school classroom, Montanaro’s recommendations and insights into improvisation are all the more useful. The teacher engaging a classroom in process drama needs to have a grasp of improvisation, as well as an understanding that improvisation can still allow the teacher to maintain structure. Perhaps the most applicable portion of Montanaro’s writing on this topic is this:

The improvisers come equipped with a certain repertoire of skills and tricks, and they look for opportunities to showcase these skills. Some improvisers bring their own ‘safety nets’ with them—backup plans just in case something goes “wrong.”
These improvisers are expecting something from their improvisation; they are planning its future. If the improvisation happens to take them into an area of ‘weakness,’ they break the improvisation and follow Plan B—the safe route.

Montanaro stresses the importance of working with what is happening in the improvisation, “Nothing should be thrown away or ignored simply because it doesn’t meet your expectations or accentuate your strengths." This is similar to Heathcote’s notion of accepting and working with what the students suggest to her, without judgment, knowing that we can always uncover universal meaning in the way we work with and reflect on the topic students have chosen for the drama.

Broader Implications
In his section on premise, Montanaro explicitly makes connections from his own classroom to the broader education system. In outlining the importance of premise work, Montanaro warns against learning by rote. He stresses that teachers must understand why they are directing the students to do something—going even further to say, “if the motives are not noble, the teacher should rethink his/her approach.”

Premise is a crucial topic—not just for mimes and actors. It is a critical subject for educators and students of all kinds to better understand and reflect upon. Montanaro concludes his chapter on premise by hoping and predicting that educating systems will incorporate the importance of premise work. “When students’ attention is constantly turned away from effects and back to cause, they discover better and better reasons for doing what they’re doing. They discover the inspiration to try new things and the courage to become mavericks.”

Beautiful Book: Steven Nachmanovitch's Free Play

Nachmanovitch's Free Play: Improvisation in Life and Artis an amazing and inspiring book that is truly applicable to its title: life and art. (A few excerpts from an academic paper I wrote are below.)

Nachmanovitch’s perspective on play was filled with an understanding of feeling and emotion, life’s inter-connectedness, and discomforting encounters with the unknown. He says, “The creative process is a spiritual path. This adventure is about us, about the deep self, the composer in all of us, about originality, meaning not that which is all new, but that which is fully and originally ourselves.”

Flow and Embracing Emptiness
A dance professor once reminded me that a beautiful dance is not created from a sequence of movements. The dance is made beautiful in the way the dancer connects those movements. Without the flow, the dance is lacking. Life, like dance (or art), is not only about a series of milestones or singular movements, but the flow between those milestones—our unfinished work (also true in education and learning). Nachmanovitch comments, “A momentous and mysterious factor that keeps us going through every obstacle is the love of our unfinished work.” Loving and paying close attention to the "in between" moments, the flow, and the creation of the work (the process) is as important as the milestone or the finished work itself.

I also appreciated Nachmanovitch's comments on the power of emptiness:

When we face our emptiness and look at it from the outside, it may indeed appear frightening or alarming, but when we move in and actually become empty, we’re surprised to suddenly find ourselves most powerful and effective. For only empty, without entertainment or distracting internal dialogue, can we be instantaneously responsive to the sight, the sound, the feel of the work in front of us.

Life is about continually valuing our unfinished work and responding to its ups and downs, finding strength within emptiness. 

Childhood

Nachmanovitch’s chapter entitled “Childhood’s End” struck a chord with me, specifically when he mentioned the school as a place that breeds conformity. His story about the young child who learned to draw the right kind of trees rather than abstract ones is something that I have seen happen throughout classrooms. Nachmanovitch reminds us that “Schools can nurture creativity in children, but they can also destroy it, and all too often do.” More and more, students are not encouraged to look outside the box, but to fit comfortably into the box hat has been created and formed by normative society and positivistic learning structures.

Nachmanovitch argues, “education must tap into the close relationship between play and exploration; there must be permission to explore and express.”

I love Nachmanovitch’s term “Heartbreakthrough.” (And think it is connected to Freire's Conscientization.) A time when “the power of creative spontaneity develops into an explosion that liberates us from outmoded frames of reference and from memory that is clogged with old facts and old feelings." Heartbreakthrough is the return to play that we need as adults. Heartbreakthrough is liberation from the pressures of adulthood, the pains and habits of everyday life and a renewed faith in what is beautiful, pure, and simple: play. It is surrender to the depth of oneself and one’s creativity.

Free Play encouraged me to understand the ways in which play permeates life, and the ways in which a lack of play can take a toll on one's life (so important to also understand as an educator). Childhood play is amazing, and at times all of us long to return to childhood's innocence. Yet, at the same time, after going through the process of hurt, disappointment, and hardship, the return to innocence and the return to play can be all the more meaningful and rewarding.

Visit Nachmanovitch's website for more.

What about childhood?

I have been perusing through Emile: Or on Education (1762) by Jean Jacques Rousseau, believed to be one of the first books to outline child-centered educations. He says:

We know nothing of childhood; and with our mistaken notions the further we advance the further we go astray. The wisest writers devote themselves to what a man ought to know, without asking what a child is capable of learning. They are always looking for the man in the child, without considering what he is before he becomes a man.

When we define education with a focus on outcomes, industry, and workforce, we forget about educating the whole child and rather than attempting to make children adults. What about entering into their world and learning with them?

I recently watched Autism: The Musical. Tricia Regan, founder of The Miracle Project, talked about the trouble she had "controlling" her (mostly non-verbal) son's behavior. She, with the influence of other artists, realized the power in trying to enter his world, rather than drawing him out of it. If he was jumping and screaming, why not do that with him? If he was running around the room, why not do that too?

I was also reminded of the power of the figurative voice. Tricia's son was non-verbal, often having outbursts of uncontrollable behavior. It was amazing to see when he was finally put in front of a speech machine and said something to the effect of: "Mom, I want to put you on the spot. I wish you would listen more."

It reminded me of this previous post on critical pedagogy and special needs populations. The "voice" is so important, but also must be broadly defined and cannot be limited by the ability to talk or write.

Play Time

NYT has some interesting insight into the importance of play time. While schools and classrooms are taking "play" out of the picture, some scientists are aiming to prove the developmental importance of creative play.

One possible hypothesis is that play can open up rehearsals for future situations and problem solving activities:

The individual most likely to prevail is the one who believes in possibilities — an optimist, a creative thinker, a person who has a sense of power and control. Imaginative play, even when it involves mucking around in the phantasmagoria,
creates such a person. ‘‘The adaptive advantage has often gone to those who entured upon their possibility with cries of exultant commitment,’’ Sutton-Smith wrote. ‘‘What is adaptive about play, therefore, may be not only the skills that are a part of it but also the willful belief in acting out one’s own capacity for the future.’’

Doesn't sound too far from theatre practitioner Augusto Boal's notion that theatre is a rehearsal for life.

Check out The National Instutute for Play for more information.